Welcome to No Limit Sound Productions

Our mission is to provide excellent quality and service to our customers. We do customized service.

Thursday, February 28, 2013

Q. Can I use an SM58 as a kick-drum mic?

Sound Advice : Miking

I’ll be doing
a session with lots of mics and I’m going to be running out of gear
choices without hiring, begging or stealing! For the kit, I don’t really
have all the right mics, so will need to compromise. Is it wise to use
a Shure SM58 on kick drum? What can I expect?

The
SM58 is better known as a vocal, guitar and snare mic than anything
else — but can it be pressed into service as a kick-drum mic?

If
you have to use a kick‑drum close‑mic that lacks low end, the neatest
mix fix is usually to employ some kind of sample‑triggering plug‑in to
supplement the sound, such as Wavemachine Labs’ Drumagog, SPL’s
DrumXchanger or Slate Digital’s Trigger.

Via SOS web site

SOS
contributor Mike Senior replies:

The first thing to say is that,
although this mic (and, indeed, its SM57 cousin) is much better known
for vocal, guitar and snare miking, there is also a good deal to
recommend it for kick‑drum applications: its physical ruggedness; its
ability to deal with high SPLs; and its presence-frequency emphasis,
which can, in many situations, help the drum ‘click’ to cut through the
mix, even when it’s played back on small speakers. The biggest potential
problem will be the low‑frequency response, which has been tailored to
compensate for proximity effect in close‑miking situations and so falls
off pretty steeply below 100Hz. However, there are several reasons why
this needn’t actually be a disaster in practice.

The
first reason is that your microphone placement may well compensate for
this, somewhat, especially if you’re planning to use the mic inside the
casing of the drum, where small changes in positioning can make an
enormous difference to the amount of captured low end. It’s also worth
bearing in mind that lots of low‑end may not actually be very desirable
at all, especially if the song you happen to be recording features
detailed kick‑drum patterns that could lose definition in the presence
of bloated lows. I often find myself filtering out sub‑bass frequencies
at mixdown, in fact, as this can make the drum feel a lot tighter, as
well as leaving more mix headroom for the bass part.

However,
even if you do get an undesirably lightweight kick‑drum close‑mic
sound, it’s comparatively easy to supplement that at the mix: this is
usually one of the simpler mix salvage tasks you’re likely to encounter,
in fact. One approach is to create some kind of low‑frequency synth
tone (typically a sine wave, but it might be something more complex if
you need more low‑end support) and then gate that in time with the
kick‑drum hits. You can do this in most DAW systems now, using the
built‑in dynamics side‑chaining system. I’ve done this in the past, but
I tend to prefer the other common tactic: triggering a sample alongside
the live kick‑drum using a sample‑triggering program (see our feature in
last month’s issue). There are now loads of these on the market,
including the examples shown in the screens above.